Mark and Aaron are joined by Matt Gasteier to explore Nicholas Ray’s In a Lonely Place (1950) and evaluate Humphrey Bogart’s body of work. We go into how Ray’s life informed the cinema, why he wasn’t celebrated during his time and subsequently appreciated later. We also go through Bogart’s entire career, from getting his lucky break to becoming a superstar.
About the film:
When a gifted but washed-up screenwriter with a hair-trigger temper—Humphrey Bogart, in a revelatory, vulnerable performance—becomes the prime suspect in a brutal Tinseltown murder, the only person who can supply an alibi for him is a seductive neighbor (Gloria Grahame) with her own troubled past. The emotionally charged In a Lonely Place, freely adapted from a Dorothy B. Hughes thriller, is a brilliant, turbulent mix of suspenseful noir and devastating melodrama, fueled by powerhouse performances. An uncompromising tale of two people...
About the film:
When a gifted but washed-up screenwriter with a hair-trigger temper—Humphrey Bogart, in a revelatory, vulnerable performance—becomes the prime suspect in a brutal Tinseltown murder, the only person who can supply an alibi for him is a seductive neighbor (Gloria Grahame) with her own troubled past. The emotionally charged In a Lonely Place, freely adapted from a Dorothy B. Hughes thriller, is a brilliant, turbulent mix of suspenseful noir and devastating melodrama, fueled by powerhouse performances. An uncompromising tale of two people...
- 7/27/2016
- by Aaron West
- CriterionCast
“Anger Management Issues”
By Raymond Benson
A character makes an excuse for the bad behavior of Dixon Steele, a Hollywood screenwriter played by Humphrey Bogart, by saying, “He’s a writer—people like him can afford to be temperamental.”
Released in the same year as Billy Wilder’s acerbic film noir attack on Tinsel Town, Sunset Boulevard, and Joseph L. Mankiewicz’s similar assault on show business, All About Eve, Nicholas Ray’s In a Lonely Place was nowhere near as popular—but it was just as scathing. It may not have been a box office success, but the picture’s reputation has grown considerably over the decades, mainly because Bogart’s performance as a bitter, angry movie scribe ranks among his best onscreen personas. But it’s not pretty. The guy has anger management issues, the likes of which probably had not been seen in a mainstream film prior to the picture’s release.
By Raymond Benson
A character makes an excuse for the bad behavior of Dixon Steele, a Hollywood screenwriter played by Humphrey Bogart, by saying, “He’s a writer—people like him can afford to be temperamental.”
Released in the same year as Billy Wilder’s acerbic film noir attack on Tinsel Town, Sunset Boulevard, and Joseph L. Mankiewicz’s similar assault on show business, All About Eve, Nicholas Ray’s In a Lonely Place was nowhere near as popular—but it was just as scathing. It may not have been a box office success, but the picture’s reputation has grown considerably over the decades, mainly because Bogart’s performance as a bitter, angry movie scribe ranks among his best onscreen personas. But it’s not pretty. The guy has anger management issues, the likes of which probably had not been seen in a mainstream film prior to the picture’s release.
- 5/12/2016
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
In a Lonely Place (Nicholas Ray)
When a gifted but washed-up screenwriter with a hair-trigger temper—Humphrey Bogart, in a revelatory, vulnerable performance—becomes the prime suspect in a brutal Tinseltown murder, the only person who can supply an alibi for him is a seductive neighbor (Gloria Grahame) with her own troubled past. The emotionally charged In a Lonely Place, freely adapted from a Dorothy B. Hughes thriller, is a brilliant, turbulent mix of suspenseful noir and devastating melodrama,...
In a Lonely Place (Nicholas Ray)
When a gifted but washed-up screenwriter with a hair-trigger temper—Humphrey Bogart, in a revelatory, vulnerable performance—becomes the prime suspect in a brutal Tinseltown murder, the only person who can supply an alibi for him is a seductive neighbor (Gloria Grahame) with her own troubled past. The emotionally charged In a Lonely Place, freely adapted from a Dorothy B. Hughes thriller, is a brilliant, turbulent mix of suspenseful noir and devastating melodrama,...
- 5/10/2016
- by TFS Staff
- The Film Stage
It's a different Bogart -- a character performance in a Nicholas Ray noir about distrust anxiety in romance. Gloria Grahame is the independent woman who must withhold her commitment... until a murder can be sorted out. Which will crack first, the murder case or the relationship? In A Lonely Place Blu-ray The Criterion Collection 810 1950 / B&W / 1:37 flat Academy / 93 min. / available through The Criterion Collection / Street Date May 10, 2016 / 39.95 Starring Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Carl Benton Reid, Art Smith, Jeff Donnell, Martha Stewart, Robert Warwick, Morris Ankrum, William Ching, Steven Geray, Hadda Brooks. Cinematography Burnett Guffey Film Editor Viola Lawrence Original Music George Antheil Written by Andrew Solt, Edmund H. North from a story by Dorothy B. Hughes Produced by Robert Lord Directed by Nicholas Ray
Reviewed by Glenn Erickson
Which Humphrey Bogart do you like best? By 1950 he had his own production company, Santana, with a contract for release through Columbia pictures.
Reviewed by Glenn Erickson
Which Humphrey Bogart do you like best? By 1950 he had his own production company, Santana, with a contract for release through Columbia pictures.
- 4/30/2016
- by Glenn Erickson
- Trailers from Hell
Dailies is a round-up of essential film writing, news bits, videos, and other highlights from across the Internet. If you’d like to submit a piece for consideration, get in touch with us in the comments below or on Twitter at @TheFilmStage.
The Criterion Collection have revealed their February 2016 line-up (click titles for more information):
On The Cinephiliacs, Peter Labuza talks with Jonathan Rosenbaum about his career and Out 1.
Watch Roger Deakins talk Sicario and more in a recent talk, and read our interview with him:
David Bordwell discusses the women crime writers of the 1940s and 1950s:
You might say that Double Indemnity and Out of the Past are quintessentially 1940s-1950s films, and I’d agree. But so too are works based on women writers. The list of Highsmith adaptations, starting with Strangers on a Train (1951), is too long to recite here, but let’s remember that...
The Criterion Collection have revealed their February 2016 line-up (click titles for more information):
On The Cinephiliacs, Peter Labuza talks with Jonathan Rosenbaum about his career and Out 1.
Watch Roger Deakins talk Sicario and more in a recent talk, and read our interview with him:
David Bordwell discusses the women crime writers of the 1940s and 1950s:
You might say that Double Indemnity and Out of the Past are quintessentially 1940s-1950s films, and I’d agree. But so too are works based on women writers. The list of Highsmith adaptations, starting with Strangers on a Train (1951), is too long to recite here, but let’s remember that...
- 11/16/2015
- by TFS Staff
- The Film Stage
Robert Montgomery’s 1947 sophomore film, Ride the Pink Horse is an exciting film noir gem ripe for rediscovery, available on Blu-ray for the first time courtesy of Criterion’s digital restoration. Best known as a comedic actor and Oscar nominated for roles in Night Must Fall (1937) and Here Comes Mr. Jordan (1941), Montgomery would eventually direct a handful of titles mostly neglected by the passage of time with the exception of his first directorial credit, the experimental noir Lady in the Lake (as the film is presented entirely from the point of view of its protagonist, as if we’re looking directly through his eyes), an adaptation of a Raymond Chandler novel. Lady premiered earlier in the very same year, and though it is often referenced for its structural technique, it’s his follow-up title that’s more impressive, as unique and off kilter as its enigmatic title.
Former GI Lucky...
Former GI Lucky...
- 3/17/2015
- by Nicholas Bell
- IONCINEMA.com
Top Five Chris Rock's movie was one of the better comedies last year and it took me a couple times to realize this so definitely give it a chance and after that first viewing, if you aren't entirely convinced, give it a second spin.
Penguins of Madagascar Never saw it, never intend to. However, the penguin characters were the best part of the first two Madagascar movies, which in and of themselves, weren't very good.
Ride the Pink Horse (Criterion Collection) I have a copy of this, but haven't yet watched it, though I'm looking forward to it and will share some thoughts down the road. For now, here's Criterion's description: Hollywood actor turned idiosyncratic auteur Robert Montgomery directs and stars in this striking crime drama based on a novel by Dorothy B. Hughes. He plays a tough-talking former GI who comes to a small New Mexico town to...
Penguins of Madagascar Never saw it, never intend to. However, the penguin characters were the best part of the first two Madagascar movies, which in and of themselves, weren't very good.
Ride the Pink Horse (Criterion Collection) I have a copy of this, but haven't yet watched it, though I'm looking forward to it and will share some thoughts down the road. For now, here's Criterion's description: Hollywood actor turned idiosyncratic auteur Robert Montgomery directs and stars in this striking crime drama based on a novel by Dorothy B. Hughes. He plays a tough-talking former GI who comes to a small New Mexico town to...
- 3/17/2015
- by Brad Brevet
- Rope of Silicon
“Border Town Noir”
By Raymond Benson
Most film noir pictures take place in urban centers—New York City, Los Angeles—where the big city is as much a character as the unhappy humans in these often bleak and brutal, sometimes brilliant, Hollywood crime films that spanned the early forties to the late fifties. Film noir peaked in the latter half of the forties, with an abundance of the classic titles released between 1946-1948.
One of the more unique things about Ride the Pink Horse is that the urban setting is gone. Instead, the action is set in a border town in New Mexico, where there is indeed danger, to be sure, but there’s also a little less pessimism among the inhabitants—unlike in the urban noirs in which everyone’s a cynic. Interestingly, one might say that the “border town noir” could be a sub-set of the broader category,...
By Raymond Benson
Most film noir pictures take place in urban centers—New York City, Los Angeles—where the big city is as much a character as the unhappy humans in these often bleak and brutal, sometimes brilliant, Hollywood crime films that spanned the early forties to the late fifties. Film noir peaked in the latter half of the forties, with an abundance of the classic titles released between 1946-1948.
One of the more unique things about Ride the Pink Horse is that the urban setting is gone. Instead, the action is set in a border town in New Mexico, where there is indeed danger, to be sure, but there’s also a little less pessimism among the inhabitants—unlike in the urban noirs in which everyone’s a cynic. Interestingly, one might say that the “border town noir” could be a sub-set of the broader category,...
- 3/12/2015
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
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